January February WW Titles and Writeups

The greatest day of Thalmus Rasulala's life, courtesy of FRIDAY FOSTER.

OK, you can go ahead and plan your life around these. Sponsored by the great I Luv Video.

CHAINED HEAT With Star Sybil Danning Live!
JAN 7, MIDNIGHT, FREE, DIR. PAUL NICOLAS, 1983, 35MM, 95 MIN, R
Spend your Wednesday night locked in a squalid cage with a few dozen sweaty bad girls. Sound like fun? You bet it does! This is pure women-in-prison exploitation with all the catfights, steamy shower scenes and deviant sexuality you can handle. Maybe more! Linda Blair plays the new fish on the cellblock. With Queen of the Amazons Sybil Danning and CLEOPATRA JONES star Tamara Dobson as warring inmates. Kinky Stella Stevens cracks the whip as the captain of the guards and scuzzy John Vernon plays the warden (who has a hot tub in his office). Sharp-eyed viewers will also recognize the great Henry Silva. Others may disagree but I think this is a great first-date movie (but be sure to bring enough for her cab fare home just in case). Either she'll love it or she'll flee. What better way to separate the wheat from the chaff? After all, who wants to get stuck with a good girl? (Lars)

FLYING MASTERS OF KUNG FU
JAN 14, MIDNIGHT, FREE, DIR. ARTIS CHOW, 1979, 35MM, 88 MIN, R
In her first film QUEEN BOXER, diminutive fighter Judy Lee demonstrated great acrobatic ability and superhuman stamina as she devastated a teahouse full of dozens of bad guys like a teenage tornado. Between QUEEN BOXER and this film, made seven years later, Lee a) learned how to act and b) got hot. So while this is an extremely cheap Taiwanese martial arts film with very familiar locations and costumes, Lee lights up the screen as "the Heartless Lady" who will stop at nothing to find her father's killer, even though the real culprits have framed her for murder and dispatched an assortment of colorful super-killers to stop her. There's a one armed swordsman, a female dart specialist played by the great Angela Mao, and best of all a guy who throws gnarly exploding metal skulls with his mind! Lee rips them apart and looks great doing it, like a deadly Asian Pebbles Flintstone. (Lars)

THE DAY TIME ENDED
JAN 21, MIDNIGHT, FREE, DIR. BUD CARDOS, 1979, 35MM, 79 MIN, PG
A psychedelic sci-fi freakout you can bring the whole family to. This strange and awesome alien encounter film takes a pretty basic premise about an alien landing in the desert, adds some Sun Ra style transmolecularization and about $5,000 worth of intense basement special effects. The final product is as close to total happiness as you can get without actually opening up your skull and messing with the wires and shit. The plot concerns a family get-together on a western ranch spoiled by the appearance of a glowing green pyramid in the horse corral. Soon all manner of aliens and UFOs are showing up to alarm the family and to - I don't know how else to put it - fuck with them. These aliens can communicate with them telepathically, alter destiny and make everything really shiny and pretty. Best of all, there's no real explanation. It just happens. I'll be enjoying this one with a tall frosty mug of LSD. Won't you join me? (Lars)

SINTHIA THE DEVIL'S DOLL
JAN 28, MIDNIGHT, FREE, DIR. "SVEN CHRISTIAN", 1968, 35MM, 78 MIN, R
This unusual sex film, made pseudonymously by Ray Dennis Steckler, the man behind THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES and RAT PFINK A BOO BOO, reflects a lot of the artsy eclecticism that drove the last golden age of American film. Under the influence of Freud and Bergman, Steckler enacts a ludicrous, heavy handed psychodrama about that old standby, an attractive young woman with a father fixation. This same material, undoubtedly appealing to older men, has been done a million times, with predictable results. But Steckler's "let's put on a show" energy shines through the thin fabric of the plot. For every talky exposition scene there's an amazing dream/trip/hallucination/fantasy sequence to make you forget the silliness of the material. Multiple exposures, slow motion, psychedelic make-up and costumes and the talented Steckler's camera work combine to make these bizarre scenes some of the best you'll ever see. With Austin's own Gary Kent as daddy in the flashbacks and the gorgeous pinup model Diane Webber. (Lars)

BLACK SIX
FEB 4, MIDNIGHT, FREE, DIR. MATT CIMBER, 1974, 35MM, 94 MIN, R
"See the 6 biggest, baddest and best waste 150 motorcycle dudes!" During the golden age of the drive-in there was one genre that could always be counted upon to turn a profit: Biker movies. "Scooter Trash" epics like THE WILD ANGELS, BORN LOSERS, SATAN'S SADISTS, and of course the major studio stepchild EASY RIDER paid for any number of mansions in Malibu and the Hollywood Hills. The films were inexpensive to produce and were highly appealing to the young, mobility-mad white audiences who frequented drive-ins. Meanwhile across town, movies like SUPERFLY, COFFY, BLACK CAESAR and the like were packing 'em in at the inner city theaters. It took an exploitation genius like Matt Cimber (WITCH WHO CAME FROM THE SEA, HUNDRA) to bring the two audiences together in this story of an all-black Vietnam Vet biker gang who take on a rival gang of racist rednecks. The Black Six are all played by NFL stars, and while none are polished actors they are loose and likable and when it's time to throw an unwise user of the N-word through a wall, they execute the playbook flawlessly. (Lars)

SOMETIMES AUNT MARTHA DOES DREADFUL THINGS
FEB 11, MIDNIGHT, FREE, DIR. THOMAS CASEY, 1971, 35MM, 95 MIN, R
Our explorations along the fringe of world cinema have led us to some strange places: Indonesia with its anti-colonial mythic avengers, the Philippines with its low-budget action and gaudy textiles, Nigeria with its camcorder excursions into ludicrous high drama; but closer to home there's a country with a film making culture as weird as any of those. That country is Florida. OK, maybe it's more of a state than a country per se, but trust us, they make some crazy ass movies. And with the possible exception of THE WIZARD OF GORE none is stranger than this one. Some guy named Abe Zwick stars as a brutal transvestite whose odd, codependent relationship with his (apparently heterosexual) roommate Stanley turns murderous whenever Stanley brings a girl home. There's a lot of blood and mayhem but the tone is oddly like a John Waters movie only with more palm trees. This one is really strange and really recommended. (Lars)

FRIDAY FOSTER
FEB 18, MIDNIGHT, FREE, DIR. ARTHUR MARKS, 1975, 35MM, 90 MIN, R
Everyone knows the rough, tough ass-kicking Pam Grier of Jack Hill's great films COFFY and FOXY BROWN. But this classic from Arthur Marks (BONNIE'S KIDS, J.D.'s REVENGE) doesn't get mentioned very often. It's time to change that. Because this is one if the most unusual, fun soul cinema titles ever. It takes place in an alternate universe where virtually everyone is African American and the only whites are stooges or bad guys. Pam plays a photographer's assistant who witnesses an assassination attempt on Blake Tarr, the richest black man in America. When her best friend is killed under mysterious circumstances possibly connected to the shooting, Grier teams up with her harried and patient detective boyfriend Yaphet Kotto to get the story - and find the killer. Much less brutal and sweaty than the Jack Hill cycle, FRIDAY FOSTER presents Grier as a high spirited, quick witted knockout in the mold of a '30s screwball movie heroine like Myrna Loy or Barbara Stanwyck. For once Pam Grier is dressed, made up and lit like a glamorous star and not surprisingly she makes every other actress in Hollywood look like an anemic little wallflower. With an all-star supporting cast of black performers including Eartha Kitt, Godfrey Cambridge, Scatman Crothers and scene stealing Ted Lange as a pimp who really wants Grier in his stable. Music by Luchi De Jesus, who obviously just got one of those Peter Frampton voice boxes, because he uses it in every single song. (Lars)

GIRLS ON F STREET
FEB 25, MIDNIGHT, FREE, DIR. SAUL RESNICK, 1966, 35MM, 69 MIN, R
Completely bizarre episodic expose about the numerous forms of sexual deviance that fester behind closed doors in a typical all-American skid row neighborhood. Shockingly frank and experimental in tone and execution. The visual vocabulary of the film includes carefully composed expressionistic scenes as well as the more typical "new wave by necessity" look of most '60s sex films: hand held camera, overlighting, the use of a narrator to hold the story together (and minimize expensive synchronized sound). As much as I love black and white '60s sex films, most of them are just slack, lazy excuses for nudity. This film is (literally) insane but every frame is fascinating. When the parade of perversion is over you'll need a shower. Or a flogging. Or both. (Lars)

There will also be a new feature at Weird Wednesdays and Terror Tuesdays where you can buy a reserved seat ahead of time for two dollars so you won't have to wait in line forever. If you choose not to buy the ticket that's cool too. Don't worry, we're not jumping the shark, it's just an optional service.

This week - Umberto Lenzi's DIRTY PICTURES

Irene Papas vs. Pretty Colors

During the golden age of Italian exploitation cinema there were craftsman directors every bit as good as the humble (and not so humble) craftsmen of Hollywood's golden age like William Wellman, Clarence Brown, Woody Van Dyke and the like. They all worked in different genres as the market dictated and all could be counted on to provide films they could sign with pride. It's amazing to realize that at one time in Italy the following versatile guys were making movies: Sergio Sollima, Sergio Martino (and producer brother Luciano), Umberto Lenzi, Enzo Castellari, Mario Bava, Fernando Di Leo - and that's just scratching the surface. It was a time of great ferment. There was a lot of money and a lot of demand for new films.

In Lenzi's PARANOIA (ORGASMO) with Caroll Baker he played the first Altamontish dark chord of the end of the sixties. Italy always had an uneasy relationship with concepts like freedom and permissiveness. In PARANOIA two free young people tip a 35-ish self-destructive beauty over the edge. In DIRTY PICTURES the older woman traps the hippie couple in her web. It's a dark coda to the sixties as the two photogenic youths disappear and capsize into the voluptuous black storm that is Irene Papas. It's an ugly and fascinating film and if you care enough about these movies to read this blog you won't want to miss it.

Joe at Filmforno sure liked it but don't read it if you don't like spoilers.

Weird Wednesday Hall Of Fame: Al Adamson

Here's Al (3rd from right) with fellow vampires in HORROR OF THE BLOOD MONSTERS.

Polly Shang Kuan!

PSK, join the movement.

This little video says everything you need to know about my favorite kung fu actress Polly Shang Kuan. Enjoy!

Lee Marvin, everybody

Lee Marvin liked to fight the Second World War. He fought it all the time! He fought it killin’ everyone that was coming up the highway. But then when I got in the picture he started just starin’ at me. And he stared at me and he stared at me. I knew something was gonna happen to me bad right then. And then he would jump right at me, jump right over to the sideways at me and there I was, fighting the Second World War. I’d go sideways over the couch, he’d go sideways over the couch. I’d jump over behind the couch and here he’d come Ku-thud, Ku-thud, Ku-thud so I couldn’t quite get away from him.—June Carter Cash

This week the Weird Wednesday presentation will be Lee Marvin in John Boorman's POINT BLANK, one of the best Hollywood films ever made and a totally bizarre amalgam of RED DESERT, Don Siegel and Vincente Minnelli. It's a film that could have never been made without Lee Marvin. MGM wasn't in the art film business but because Lee Marvin was such a bankable star he secured cast approval and final cut, then deferred them to Boorman. Together Boorman and Marvin crafted a film like no other.

Here's John Boorman's appreciation of Lee Marvin:



Follow through to the further chapters if you're interested.

And here's some great stuff from Lee Marvin himself:

I Luv Video Pick Shelf for Nov 11.

Come Drink With Me!

Pop by I Luv Video to see tons of great new stuff. I changed out my pick shelf today.

Here's what I gots now:

Airport Blvd. Location:

RIDER ON THE RAIN
Charles Bronson plays a great, challenging multifaceted role in this strange Rene Clement thriller. With Marlene Joubert, Gabrielle Tinti and of course Jill Ireland. Much more cerebral and less sweaty than you'd expect. Great noir euroambient vibe too.

RUN ANGEL RUN
William Smith, with an unfortunate, ludicrous fake 'stache stars as a biker who sells his story to LIFE magazine and ends up on the run from his former bros. Directed by the late, great Jack Starrett. Some really strange, experimental editing going on here. Smith is awesome.

THE THREE MUSKETEERS AND THE FOUR MUSKETEERS
Richard Lester directed both of these films, which were originally conceived as one big, long film. When they were released separately Raquel Welch, and maybe others, sued the producers. It's a huge epic in a way but it feels really loose and spontaneous too. It turns out Lester used up to seven cameras to film every take, so the action and performances have great, lifelike continuity. And it's really funny. Cast includes Raquel Welch, Faye Dunaway, Charlton Heston, Christopher Lee and, as the musketeers: Michael York, Frank Finlay, Richard Chamberlain and the always drunk and violent Oliver Reed. Great!

HEROES OF THE EAST
Shaw Brothers master Lau Kar Leung directs what is basically a 30's screwball farce mixed with a hardcore martial arts extravaganza. Gordon Liu marries a Japanese woman who turns out to be a karate master. They have a number of philosophical disputes about the nature of martial arts, then she storms back to Japan. He sends her a playful "challenge letter" which is intercepted by a shit-starting ninja master. Pretty soon the ninja brings a whole delegation of Japanese fighters to answer Liu's challenge. Then, in a long series of fights, the weapons and philosophy of China's martial arts prove to be no match for Japan. The End.

Guadalupe Store:

FEMALE CONVICT SCORPION: JAILHOUSE 41
I don't know why everybody doesn't talk about this movie every day. It's a huge landmark classic. You can't be cool unless you've seen it. Ostensibly a women in prison film it becomes a howling vortex of psychedelic Noh expressionism. So weird. So great. So not rented out? What?

DEATH CURSE OF TARTU/STING OF DEATH
DEATH CURSE is OK but STING OF DEATH is what I'm about. Made in Florida dopiness about a mad scientist who somehow makes a jellyfish monster. At least I think that's what it's about. You watch it and tell me. With Neil Sedaka, horseman of the apocalypse.

COME DRINK WITH ME
Not a typical Shaw Bros. film, if there is such a thing. This was made by one of the greatest film dudes ever to make films, King Hu. Check out his A TOUCH OF ZEN too. This is beautifully soundstagebound, like a little Joseph Cornell box. Star Cheng Pei-Pei is just heartbreakingly adorable and cute and sexy and deadly. The action is like a dream. A perfect little jewel of a movie. Also known as BIG DRUNK HERO.

KING OF THE ZOMBIES
Dumb '40s B-movie. Completely forgettable in every way except for the performance of Mantan Moreland. Moreland excelled at playing the archetypal "easily scared man". Unfortunately a lot of people cringe at his performances because in addition to being "easily scared" he's "black". If he happened to be easily scared white man Mantan Moreland many more people would consider his humor funny. But no matter, Mantan Moreland was really really funny. And the proof is right here. Rent it. You'll laugh.

DEVIL'S WEDDING NIGHT and FREEZE BOMB

This scene was cut out! Shiiiiiit!

Last week's showing of DEVIL'S WEDDING NIGHT went OK I guess. Unfortunately the print was mangled and my two favorite scenes were missing. If you didn't know what you weren't getting it was probably still fun but if you've seen the film you know that the blood bath scene and the love scene between Rosalba Neri and Mark Damon are pretty key parts. Also, a number of people were asking why Rosalba Neri was billed as Sara Bay. She did several films with that pseudonym towards the end of her prime, including LADY FRANKENSTEIN. I think she was trying to generate some US marquee appeal, which would be tough with such an ungainly name as Rosalba Neri I guess.

Even though the print was cut I think any time you can experience Rosalba Neri on film on the big screen is like a kind of religious experience and I enjoyed every second. It's apparently in the public domain and you can watch the whole thing here.

FREEZE BOMB is pretty appealing too. I've tried and tried to identify the appeal of Al Adamson movies and I can't quite put the pieces together. He's not a skilled director but he gets all the shots together to tell the story and works with good people like cinematographer Gary Graver and stunt coordinator Bud Cardos. The cast in FREEZE BOMB is pretty good too. Odd Job and Terry Moore are really bad (but entertaining) but Jim Kelly, George Lazenby, Aldo Ray and Patch Mackenzie as the lab assistant with the implanted microchip are all good. Also notable is the great stuntman Bob Wall as the Haitian henchman. But that snapping turtle is nightmare material. If I saw one of those in my neighborhood I'd move away.